The King and I

Reviewed by Holly Bartges

In the 1860s, if Anna Leonowens had been clothed in her English social order, if she bowed down to the King of Siam, if she respected all of his demands, there would be no Anna. And “The King Of Siam” novel written by Margaret Landon, and there would be no Rodgers and Hammerstein The King and I with its delicate, delicious, rich, thrilling musical score.

Shelly Cox-Robie and Wayne Kennedy star as Anna and the King in the Boulder’s Dinner Theatre production of The King and I. Photo by John Scott Clough

No matter how many times one has experienced The King and I, its powerful impact surrounds with influencial inspiration. No where is that impact any more viable then at the Boulder’s Dinner Theatre featuring Wayne Kennedy as the authoritarian stubborn King and Shelly Cox-Robie as the deliberate impetuous Anna.

This pointed romantic musical demands a luscious set reflecting luxurious surroundings. Right? Wrong.

Except for the barest necessities to differentiate scenes and places, The King and I set designed by Melissa Schrank lives and breathes on a relative bare stage. Almost. Not quite. Three items thrusts the setting into artistic magnificent simplicity. Three very large orange banners dominate up stage. Designed by choreographer Scott Beyette, the three very large pieces of orange cloth cleverly hung for maneuverability take on distinct personalities. The banners act as a narrator. Somewhere in the folds of the bright orange, Beyette hid a trumpet that doesn’t interfere with Neal Dunfee’s exquisite orchestra. The announcement of place sounds as grandly as though a trumpet speaks.

In the first scene with the help of choreographed assistants, there is no question The King and I opens on board a ship in the Port of Bangkok. The affect of the orange sails is excitingly overwhelming. So simple. So magnificent. That’s in the first five seconds of the production, which only continues to soar long after the final note has faded in the cool night air.

Produced and directed by Michael Duran, this production is one of the most awesome high-flying musicals to nestle onto the BDT stage. That’s quite a mouthful, because of the high quality consistency BDT rightfully stakes its reputation on. From its first production to now it’s 100th, BDT cultivates and nurtures depth and eminence.

With beautiful costumes designed by Linda Morken, the actors wear the souls of their characters sewn as neatly into the folds of their costumes as Beyette did with the trumpet into the banners.

Aside from the magnificent magical timeless music of “I Whistle A Happy Tune,” “Hello Young Lovers,” “Something Wonderful,” and the impeccable “Shall We Dance,” The King and I transports back into a far away time when an English widow and her young son defy the bounds of society’s dictates. In the late 1860s, which seem to be a universe ago, Anna stepped into courage to travel to the exotic Siam to teach the King’s numerous children. He tells her he has 67 but she would only be teaching those whose mothers were in favor with him.

Up against an authoritarian King who believed the world lay at his feet wanting and needing his dictate, Anna found the audacity to challenge him.

Romanticized yet realistic, how far we’ve come going nowhere fast and how far we haven’t proceeded. Astonishing how fast humanity can travel in one place going nowhere. Culture clash, dignity of humanity, racial consciousness, slavery. Those were Anna’s realities, and they remain ours.

Wayne’s expressions punctuate every word and every flow of his muscles accompanied by the distinct stream of emotions from hapless giggles, to razor-sharp humor, to explosive reactions of threat. While Kennedy’s expression punctuates every word, Cox-Robie’s words punctuate every expression. The chemistry between Kennedy and Cox-Robie with their rich gorgeous powerful voices slides easily between and around the King and Anna.

The children, the Princes and Princesses are adorable and more fun than a bowl of Siamese monkeys. Played alternately by: Christian Armendariz, Rachel Cavalier, Hannah Ferwerda, Kelly Hartzel, Maya Hawn, Rosie Irwin, Jessie Jong, Catherine Lesley, Andrea Molina, Diana Olin, Ceci Quintaro, Marissa Rincon, Haley Solano, and Waeli Wang the children are all given distinct personalities. From the very shy, to the very bold, to the overly serious, to the kid who just wanted to be a kid, their scenes added a realistic flavor. Each one maintained his/her assigned personality throughout each scene. When Anna sings “Getting To Know You” through Cox-Robie’s incredible voice, the song dug deeper into a new unrevealed depth. You believe her because you believe yourself. These actors aren’t picture perfect robots in children’s clothing; they are children who dare to be children in the face of an overbearing authoritarian King.

On initial glimpse of the young Crown Prince, Chulalongkorn, (Tony Klava, Brandon Lopez) it would be easy to conclude he might be the weakest in the powerful line-up. He’s quiet, reserved, and speaks softly. Take another glimpse at who he is, what he is up against, where his thinking carries him, and he becomes one of the calculated strongest.

Up against an arrogant father who commands total control and obedience, the young prince knows he dare not go too far with his thoughts. He knows something a good many never learn to think, ask questions and keep his mouth shut. In his young age, he knows, and it shows through the hue, his time will come.

When it does he will be able to create change receiving his father’s blessing. That’s a very big concept for a very young actor to carry onto stage. It happens and it works.

A.K. Klimpke as The Kralahome steps back into another culture, another time, revealing a glimpse of something very different. How dare Anna disagree. How dare she ask questions. How dare she speak for herself. It doesn’t matter to him. Stay or leave. Just make up your mind.

The forbidden love between Tuptim (Amy Grass), a gift from the Prince of Burma to the King, and her escort, Lun Tha (Brian Jackson) sends romanticized sparks bouncing throughout the theatre. In the Palace Garden, when they sing “I Have Dreamed,” there is softer melting going on in the theatre than there is with the northern ice caps. Grass and Jackson are both elegantly superb in their togetherness and their separation.

After a long stretch of theatre in Maui, Hawaii, Jade Tilley makes her BDT debut as Lady Thiang, the King’s favorite wife, and the Crown Prince’s mother. Tilley brings Lady Thiang vibrantly alive with her beautiful voice singing “Something Wonderful,” and as she shows concerned playful deceit for Tuptim and Lun Tha.

Humor meets macho control head to head when with power in check, wit curling his lips, tongue giggling on its own, the King insists Anna’s head not be higher than his even though he is dictating a letter to her. He sits, he kneels, lies down on the floor. She knows when to fight her battles, and when to let him play at wining, but taking dictation keeping her head below his is no small trick. Hysterical, but no small trick.

As part of her school assignment, Tuptim writes her own version of “Uncle Tom’s Cabin” through Far East cultural eyes into the eyes of Southern slavery. The ballet, “The Small House of Uncle Thomas” choreographed by Alicia Dunfee and Beyette takes the breath away with its cleverness, ingenuity, creativity, and remarkable execution.

John Scott Clough creates an elegant Sir Edward Ramsey, a long time friend of Anna’s. Word has gotten out into the world the King is a barbarian. Sent by the King of England, Ramsey arrives to squelch the rumor or prove its truth. Episodes leading up to and including Ramsey’s visit topple upside down and sideways with giggling delicious humor.

And this is only the beginning of a greatly beloved musical that covers the stretch of time with hope, spirit and love of the highest order. The King and I needs an audience to live. More importantly, the audience needs The King and I more than ever.

BDT’s production fits the bill with its stunning production. Miss this show, and you will miss the dance you always wanted. Don’t think you can dance? Anna will teach as she leads the King with his two left feet and rumpled rhythm into an over the top exhilarating experience of “Shall We Dance?” The music, the dancing captivates the mind long after the house lights come on.